Sardonicast - Sardonicast 202: Shelby Oaks, Bugonia, Requiem for a Dream

Episode Date: November 10, 2025

Listen early and ad-free at https://sardonicast.com or https://www.patreon.com/Sardonicast. Website: https://sardonicast.com Patreon: https://www.patreon.com/Sardonicast Reddit: http://www.reddit.com/r/sardonicast Twitter: https://twitter.com/sardonicast Bluesky: https://bsky.app/profile/sardonicast.bsky.social Facebook: http://www.facebook.com/sardonicast Sardonicast Highlights: https://www.youtube.com/channel/UC8AhJ0bzQgs5fb9m_ZCRqkw/featured Adam's channel: https://www.youtube.com/@YMS Alex's channel: https://www.youtube.com/user/IHEOfficial Jake's channel: https://www.youtube.com/@ManCarryingThing Jake's movie channel: https://www.youtube.com/@womancarryingman Alex's Twitter: https://twitter.com/IHE_OFFICIAL Adam's Twitter: https://twitter.com/2gay2lift Adam's bluesky: https://bsky.app/profile/yms.bsky.social Jake's twitter: https://x.com/ManCarrying Jake's bluesky: https://bsky.app/profile/mancarryingthing.bsky.social Adam's Patreon: https://www.patreon.com/YMS Jake's Patreon: https://www.patreon.com/mancarryingthing Intro music by: https://www.youtube.com/user/anUnkindnessvideo Fan art: https://old.reddit.com/r/Sardonicast/comments/1nz5rib/to_celebrate_the_upcoming_200th_episode_i_made/ https://old.reddit.com/r/Sardonicast/comments/1o63yd8/happy_200_episodes/ Timestamps: 0:00 intro 1:15 Shelby Oaks 26:10 Bugonia 52:08 Requiem for a Dream 1:38:20 questions 2:10:00 recommendation + outro

Three, two, one. Ass to ass. I'm assuming you guys both knew that that was exactly what I was going to say. I'm Adam from your movie set. This is Sardonic. Yeah. I'm Alex from my H.E. I did have that one written down, but I expected one of you guys going to steal it.

So I'm going to instead do. I didn't get my news from the news. I can be my one. That's a good one. I'm Jake, a man-carrying thing. And, you know, can I just first off say that this is like an unfair hierarchy here. Adam always steals the best quotes first because you go to whatever you want. I mean, like, if you want to go first one time, go for it.

I've been begging for help for years. You got to be a little bit, no. I like that you take the lead, but it's like you always get the best quotes. I mean, nothing's going to beat ass to ass first. True. I'll just do, I don't know, juice by Harry, juice by Harry. just by here whatever the fuck they said on TV. Yeah.

What a weird movie. Hi guys. How are you doing? Hi. I'm doing good. Yeah, okay. Okay. We saw some films.

Alex didn't have time to see Shelby Oaks. I didn't see one of them. Yeah, I miss Shelby Oaks, unfortunately. Yeah. Which is a shame. I'll see it eventually. The price of being British. It is the price of being British, but yeah, I want us to get stockmanized on the big screen.

Yeah. So Jake and I are going to talk. about it because it is I don't know like I feel like if we wait too long after Halloween and also you know it's a it's a buddy who directed the movie yeah and so it'd be good to like yeah any promotion's good promotion right so if we have the the film name in the title it's helping right so you guys you guys have spoken to Chris Stuckman right you guys have done an episode I've met him in person okay he's been in my bids and stuff yeah okay so you guys are in

the pocket of big stuck basically. Yes, we are both stuckmanized. For those of you listening who don't know, Chris Stuckman is most popular for being a two-time guest on this podcast. And then he also has like a tiny YouTube channel that nobody cares about. That explains it, yeah. Yeah. Yeah.

I've never spoken to Chris Stuckman. So I'm maybe the least biased person in the room here. Oh. Yeah. Okay. Well, I guess you have the correct opinion, you can just talk. True. Okay, I will.

And I shall. I liked it. I thought it was good. I thought it was a six out of ten film. Whoa, ratings already? Yeah. Well, fuck it. So excited to drop that six.

Yeah, you know, I feel like the reaction to the movie has been very interesting. I like that people are. enthusiastic about Chris Dougman making this film. I feel like most people are generally very excited about the prospect of him doing this and how much time and effort he put into it because it does feel like a very hard-earned thing. You know, like it's very hard to get a movie made. Of course, he has the benefit of having a big audience and that sort of thing, which

certainly helps. But that's in the industry in like traditional Hollywood, that doesn't, is not the be all end all of getting a movie made. No one's just going to hand you. Correct. A hundred million dollars to make a movie if you have some subscribers. I don't think the budget was a hundred million dollars. It was not a hundred million dollars. It was made very cheaply. So that's what I mean. Like, I think that it looks really good, especially for how much it was made for. And it not only, as I was watching it, I just kept thinking like, you know, this is like a fun movie. Like, this isn't something that's super profound or deep, and I didn't.

But I kind of liked that about it. It kind of felt like a reaction against the current, like, art house horror trend, the elevated horror, where it was kind of like a schlocky B movie that wore all of its influences on its sleeve. It was kind of like grinding up all these different tropes of the genre and having fun with it and being stylistic with it and kind of messing with the form a little, just a little bit, you know, especially in the first half hour, which I thought was really engaging. And yeah, like it has problems in the screenplay. I feel like the characters are kind of underdeveloped and, you know, could have done a little more,

especially with the screenplay. But I was like, this is better than long legs, in my opinion. I didn't care for long legs. Yeah, you know, I think it's also better than long legs. legs. Okay. I don't like long legs. Yeah. Um. What number did I give long legs? I think I gave long legs a four. Let's find out. Yeah. Well, what kind of horror is it like going for? And yeah, is this like a ghost type thing? Many things at once. Okay, it's trying to smash some stuff together. Some people might find jarring. And it kind of is. So when Jake says like, wears its influences on

its sleeve. It's kind of similar in the sense of like, you know how you can tell that like the substance watched very specific movies to create what they made and then kind of like jelled it into like one thing. In that same sense you can tell that

with Shelby Oaks. But it's almost as if there's like different distinct sections of different genres almost or like different types of horror movies, which is kind of interesting and it's definitely trying to do that at points.

Like, it starts out pretty much as a found footage film. And then, I guess, mild spoiler. Yeah, I don't know, people have probably seen it if they wanted to. But spoilers, I don't think this will ruin your experience, Alex. But essentially, the opening credits turn into something that looks a lot more like a Flanagan film. Right. And it says, presented by Mike Flanagan. you know yeah exactly exactly um where it uh shifts formats and becomes more of like a rather than

like a realistic found footage thing it becomes more of like a not exactly maximalist but approaching that um slow motion like kind of like epic music sort of thing and just it it was jarring for me but i liked it okay i really liked it that sounds interesting it was like a bold move It was like wow weird sort of thing, and I liked that it was being creative. Yeah, yeah. And then, yeah, from that point on, it becomes, like, more of, like, what you would expect in terms of, like, a traditional format. But, yeah, that was, that was really interesting. And I don't think that it worked entirely for me.

Like, I appreciated it more than I was, like, into it, especially certain aspects of it. Like, I found it to be, like, right after the end credits end, just. like the shot of her like with the like bloody face sort of thing like that I found that to be like a little goofy but I was still enjoying it right I was having fun with this movie and I was not bored that's for sure but I do feel like in terms of its elements working together cohesively I feel like that is one of the issues that I have and also as you mentioned the the script I feel like the script is the weakest part. I feel like the writing needs to be tighter, better, more clearly communicated. And you know, like, yeah, if things were like, basically my experience

with the film was every single time there's like a horror moment or a horror shot or a horror scene, I was pretty impressed. I was like, oh, wow, like you actually, you're effectively communicating exactly what it seems like you're trying to, right? That was like a nine times at a sort of thing for me. There were scary moments. They were like good jump scares, yeah. For the most part, every one of those were effective with some few exceptions. But then the connective tissue between those moments and scenes is what really dragged it down.

And so, you know, like in terms of communicating a story and like character motivations, like, it's probably true that on paper these things are communicated. you know, technically. But I found the way that they were being communicated just so, like, uninteresting to me, that I found myself, like, you know, when she's like in the, what was it, like that prison, I was kind of like, why are you there?

Sort of like, and I'm sure they explained it. But I was kind of like, what's going? Like, I found myself asking those questions throughout the film. It was kind of like a dumb protagonist scenario of just like the classic horror movie, super dumb protagonist, like, why go investigate the prison in the middle of the night? Yeah. Well, you could argue it's because she had like an argument with her husband and she's kind of like feeling all this anxiety and it's just like, fuck it, I'm going to go do it now. But the argument with the husband wasn't really big enough in my opinion to really justify that. Exactly. It was just kind of like, you need help. You know, and she's like, fuck it. I'm going to go to an asylum in the middle of the night. That scene felt detached from like the rest of the film. Yeah. Yeah. But the scene itself of her actually in the prison, it's like really.

well shot. There's a sense of dread. It's really like suspenseful. So. No, yeah. Yeah. Like, again, like the horror shots and scenes detached from anything. Make for some like great little short films or little experimental projects, right? Or or like screen tests even. But then like the connective tissue was just so weak for me that like you know, I'm there's so much I like within the movie, but as a movie

overall the entire piece, like I'm not so sure. I never felt as though watching it like it was like a disaster. I never felt like, oh, this is a one big mess sort of thing. So in that sense, it's like, okay, yeah. Like, there's something here, and I would like to see Chris, you know, make another film. I would like to see in what ways he improves and, you know, especially if he's able to get, you know, like an experienced team on board, which, I mean, it looked great visually. but if he's able to get more money and, you know, let's say he has Flanagan on board

even before the filming starts for his next project. Like, that could be interesting. Yeah. I mean, I have no doubt that he's going to be making something with a higher budget very soon. Yeah. You know, because I feel like this movie has gone over pretty well. And it is kind of like the best demo reel you could possibly have. Exactly.

It is. You've proven you can do this with the budget you have. And yeah, the script is kind of like very. thin and it is just kind of this wire hanger for all of these little film ideas he wants to put and all these like kind of set pieces he wants to do. But it kind of moves quickly. It's very short and it has enough energy where you aren't really thinking. Like you said, Adam, like there's not really the connective tissue between these sequences, but it moves quick enough that you aren't really like, you're just kind of like, oh, whatever. Yeah. I was never really bored.

Yeah. Yeah. Which is good. That's really good. That's a huge. 91 minutes. That's all you can ask for if you're going to a theater. But yeah, it was, it was interesting. And I, you know, I wrote down notes. Why didn't I open them? Let me bring my notes in. Get your damn notes. What the heck is wrong with me? I forgot that I was a person that had notes. No, that's, that's good. I mean, I never really take notes during movies. I just go wild with it. But yeah, I mean, this movie, the thing is, I feel like it had more of a sense of humor than I expected.

And I don't know if like certain sequences were unintentionally funny, but I do feel like there was kind of like a kind of sly winking humor. Especially in like the ending stuff like in the cabin with the old lady, there was definitely like this like teasing you, Hitchcockian kind of like, ah, see what I'm doing. Like where she very deliberately and stupidly puts the night. knife down at like a very important moment and I'm just kind of like come on you know what you're doing I don't yeah I'm like that I feel like the entire last like 15 minutes of the film I was probably the most confused with like what it was really going for because I found myself like conflicted as to like how self-aware it was at any given point within those last 15 minutes It's not literally any given point, but like, you know, won't, I won't say specifically what happens at the end for Alex, but like there's a very funny ending that doesn't seem like it's supposed to be funny.

I'm like, it's, it's like, okay, that that was very silly. It was very silly. I liked it. I just, I liked how balls through the wall it went. It was just like, let's just do this. Let's see how this looks and feels and it's silly, but it's like, it was fitting for the rest of the film. And it kind of tied it into a neat little bow that's like, yeah, there you go. You did it.

That's, it works. When you say balls to the wall that kind of like, I think that you have like a good idea of like what it might have been going for. Yeah. Like maybe maybe like a cheesier like maybe not to the level of like malignant or anything, but like kind of like a horror film that's like having fun with itself maybe that's possible. but I will say that like you know my confusion there I would have to again blame on like the connective tissue

because in a film like that you're not going to want to just like save that for the end and then have you people potentially be confused about whether or not that's supposed to be happening like you kind of want to put a lot more consideration for like how you introduce those sorts of of things and like how slowly you turn the dial up sort of thing and like yeah so who knows who

knows i feel like there's sort of a dichotomy right now at least in like mainstream uh horror films that it's like you're either going towards hereditary in midsummer or you're leaning more towards malignant and weapons um and i feel like this movie leans more towards malignant yeah you know it's less of a serious, you know, what's elevated horror type of thing. Yeah. Yeah, that's interesting. That's a good way to put it. But like, it needs to, you know, with this being his first feature, awesome first feature.

But I would say, yeah, something that he should probably work on in terms of like ironing the kinks out is like figuring out how to. be a bit more like deliberate with like the full piece, right? Because it does it, I think the mish-mashy nature is not doing it any favors in terms of like interpreting the intended experience for the entirety of the film. Yeah. I mean, it did feel like it was kind of building to set pieces. Whereas yeah, maybe it could have been a more interesting narrative flow if it was more character focused just a little bit, you know, like our protagonist, I never really felt like she was, you know, she was a fine protagonist, but she was just kind of your typical horror movie hero.

Mm-hmm. And I, you know, I guess that she has sort of an arc near the end of the film. But again, it becomes too goofy and over the top that it's not really, uh, doesn't really work super well. I liked, I liked the casting for the most part. Not every, like, moment and every performance was like, you know, great. but most of it worked really well. Requiem for a dream.

Keith David shows up in here. How much was Keith David in there? He must be the biggest. Just like one scene. Like named doctor. Right. It was fine. Here's something I wrote down, which basically the fact that you're absolutely right,

like it is just building to different set pieces. I watched this and I had a thought like, you know, this wouldn't make it better for anyone else but me. But I would have loved to have seen these exact same set pieces, but in a film that didn't try to explain things in between them and have sort of more like a dream logicy kind of like, you know, like, oh, I'm walking around and oh, no, there's this other thing. And like, the character, the main character doesn't even understand why any of it's happening sort of thing. Like, I feel like that would have been like more appropriate just for me, just because the weakest point was the connective tissues, you know, just like get rid of it sort of thing.

But it wouldn't have been as appealing for everybody else. That's true. Yeah, like most horror movies, the best parts are what you don't understand yet. Yeah, true. And then most horror movies fail when the reveal happens. And it's like, oh, it's this thing. It's this thing. Oh, okay.

I don't really care that much now. But the buildup works really well. Yeah. Yeah. So, yeah, it looks like the, according to Wikipedia, a budget was between 1.4 and 2.8 million, which is incredibly insane, honestly. Like, that's nothing. So, I mean, that's like a pretty good, like, for, you know, one of my notes was like,

okay, yeah, the makeup near the end on the character, like, you know, I don't know if I buy what it's saying here. But, you know, given the extremely low budget, yeah, I mean, it makes sense for there to be like this many like imperfections. I want to say too, the mockumentary stuff was really professionally done.

It felt very like close to like what you'd see in a Netflix documentary. Which was what it was going for. So that worked very well. And the transition to like the more slicker like Flanagan looking material. Very good.

I got to say, I really admire what this movie does when we see so many night scenes, especially in horror films that look like our impossible look at. Like there are sequences where she's running through the forest and investigating in the forest and it's lit with these big beautiful lights and you can see everything and it's very stylistic. And I'm like, I love this. I'm just happy looking at the screen right now.

It doesn't look like mush. Yeah. And you know what is another like positive thing is that I can actually remember how some things looked. You know, there's shots where I'm like, oh yeah, I liked this shot. and I can think about it. The cinematography was like pretty good. Yeah. Again, not like flawless or anything, but like really, really great for a first feature.

And with that low of a budget, like, yeah, the visual, the visual style of it was not like, you know, dumb. It wasn't stale. It wasn't, you know, just like, oh, A camera, B camera and that's it. And you never get any like variety between like perspectives or like wide and close or movement. And like, yeah, it was really well done in that sense, and I like that. Yeah, I mean, I feel like, do you feel like this has dented the impact or at least change some perspectives about what a YouTuber film is? Because I feel like we always have this come up all the time because there are people who are YouTubers or have made careers on YouTube and then they make films.

The Flippoo Brothers, of course, most recently and most notably was like, hey, holy shit, they can make these are really good movies. and now Chris Duckman, I do feel like even though there's been, you know, some negative criticism to this film overall, the overall reaction I'm seeing is like, that's a movie. Like he made a movie. It's not like a fake movie. It's legit. And it seems to have only helped the film too, like him being attached to it. Like there's a lot of conversation about it.

You see, you know, from movies of this size, getting attention is one of the hardest parts. Exactly. It seems like a good stepping stone kind of movie to, you know, leverage himself into the industry, especially with Flanagan being attached. I could see production companies in studios being like, hell, they made this like $2.5 million. That's nothing for these companies. If like, hey, somebody who has a goal and is trying to make a film and they have this following, then it kind of makes sense potentially for them to make that gamble.

But, yeah, I mean, maybe there's going to be changes there that it'll be a little more democratic for people on the outside to make films on the inside. Who knows? Yeah. Perhaps. I mean, like, you know, I've gotten, like, messages from, like, legitimate producers that would, that were like, you know, like, hey, you know, if you ever want to, like, send a screenplay or whatever. Sometimes the hardest part is actually just, like, getting to the point where you have something that you're even, like, comfortable with to be able to send to someone to get financing. And then, you know, I will also admit, like, the producers that I'm talking to, they're not, like, you know, philanthropic. like, oh yeah, I'll just put my money in whatever project. So, like, they would have an expectation that what I'm writing is also something that could sell, which, you know, is like, okay, do I want that burden, you know, or do I want to just go, like, fully creative control sort of thing? So, yeah, I do think it's really cool that Chris was able to make pretty much the exact movie he wanted.

I think before the Fantasia premiere, there was some stuff missing. And then once Neon and Flanagan got attached, They were like, hey, do you want to add some of these scenes that were in the script that you didn't have enough money to shoot? That's cool. So, yeah, that's pretty cool. Love it. Despite saying a lot of positive things about it, four out of ten. Because just based on the consistency of everything else I've rated and its connective tissue, which is honestly like a big thing for me.

You know? No, that's a fair rating for sure. I think so. I think I'm at a six because my overall enjoyment just kind of overwhelmed any of the the natives I saw like especially with modern horror films like the fact that it was entertained the whole way through and there were some scenes where I genuinely was like squinting at the screen because I'm like oh fuck I don't want to look at what's going to happen next day. Yeah, that was great.

There wasn't like a long boring section where I'm like. like, fuck, I have to learn about their trauma. Like, I just, I really enjoyed this. It was fun. Yeah. Yeah, it was not a regrettable experience at the theater. Yeah. And, yeah, Prattie, Chris.

Way to go. Yeah, amazing. Thank you so much. Mm-hmm. Yeah. Now, now everyone get your Chris Duckman bucks and invest in the next Chris Duckmanized project. because I'm betting on the next thing he does. It's going to be a big deal.

I have a feeling. Do you think he's going to go crowdfunding again? I don't think you'll have to. I don't think so. No. Yeah, I don't think you'll have to either. It's been quite a success. Sometimes I can supplement, depending on who you are.

But like... Yeah. Yeah. Yeah, we'll have to see what his next project's like, I don't have any real, like, strong expectations in either direction. I think it just, it's entirely dependent on how he, approaches it. Because who knows, maybe it could be someone else's screenplay too. What if he just takes a hard left turn and he just does like a James L. Brooks movie?

Sure. Just like Diane Keaton type of film, you know. That would be funny. Yeah. What if he makes castration movie part four? Hey, good for castration movie series, right? No, no, no. Maybe. Cestration movies, you haven't even seen it.

You don't even know what it is. If I had a dollar for every time you mention castration movies, or you say the word castration on this podcast, I would have a... Like $12? Enough money to buy myself a sandwich. Yeah. You'd have a few bucks. Well, one day I'm going to get Louise to guest on the podcast.

And if you haven't seen it by then, it would be very embarrassing for you. That would be. No, I want to see it. I mean, there's what, 15 parts now? No. The second part got released. Okay. There's two parts.

Awesome. It's on Gumroad. It's cheap. It's on what? Gum Road. I don't know what that is. It's a thing you can buy things off of. It's like a merchant.

Like that a lot of independent artists use. You can just buy it. You can buy a digital copy of the film for like super cheap. Everything I watch is on Crackle. Crackle. Yeah. Is that real? Yeah, classic.

Love crackle. Yeah. We saw begonia, if I'm even pronouncing it, right? Bagonia. Seems right, yeah. Bugs. Bug on, yeah. What do you think?

Go ahead, Alex. Um, I don't know. I just think your ghost is on this streak that for me has been pretty consistent. This is another one of his darkly funny, warped, weird. films of like a good like metaphor background I feel like kind of with the eddington discussion where we were talking about how the film was able to capture a vibe or an energy of the time right now and we're like so solidly into the 2020s and I feel like this is a good example of like how the 2020s feel as a movie if you could

capture some of those energies some of those some of those ideas that are kind of floating in the air and seem to be a commanding culture or or at least informing a lot of the way we interpret the current world. I feel like the bottle movie that Borgonia turns into is a good, just representation of an absurdist, taking it to its most extreme examples version of, you know, these CEO characters, these radicals that get all their information from these podcasts. And as I referenced in the intro with the,

I don't get the news from the news, that thing. and this fascinating character played by Jesse Pumman's, who I love. And yeah, just becoming this bottle movie, these great actors bouncing off each other with kind of like a weapon-style core hook or question at the center of it of like, how they're going to wrap this story back on itself and give a satisfying answer to this query of like, this alien query at the heart of it, the like lizard people conspiracy basically, which I thought was like a great compelling hook at the heart of it. of it but uh I think we have a range of opinions here so when you guys jump in go ahead Adam um

yeah so I'm I'm a big Yorgos fan um I've watched have I watched like literally every single one of his movies there's only one I haven't seen I think I've seen all of his you see the one before dog tooth okay I've seen all of his features since dog tooth from dog tooth in 2009 on I'm in the same place. And then I'm missing one called My Best Friend and Keneta. Those are two movies. Yeah, I haven't seen those. And who knows exactly what those are like.

But, um, no, yeah. Like, I'm, I'm always going to check out a Yorgos film. Uh, I think he's one of the most interesting directors. I think that he's great at providing things that are challenging and uncompromising and are just, like, yeah, this is the movie we want to make. doesn't matter if it's going to appeal to everybody sort of thing. Definitely. And yeah, I love his like weird ass cinematography.

So like poor things was like a very, you know, expressive movie in that sense. And even kinds of kindness, I felt to be a bit more like out there than begonia. I feel like begonia is his most like normal. His most accessible film, yeah. At least for the first like two-thirds or whatever. Then it kind of starts turning into more of a Yorgos film. But yeah, you know, it was good. And even though I was kind of like, you know, missing having crazier cinematography or, you know, like the more typical things that I associate with Yorgos, it eventually delivered.

And I was like, okay, yeah, this satisfies the mark for what I would want out of a Yorgos, basically. Okay. What about you, jerk? Yeah, I didn't love this. I thought it was okay. I didn't hate it either, but I'm also not like in love with Yorgos filmmaker. I don't, I've, I didn't love poor things. I enjoyed the lobster at the time.

And I haven't seen a ton of his films, admittedly. But I found this to be kind of one note and kind of just like a belaborate. metaphor for the most of the film and I didn't really find it very surprising or interesting and in fact I found the main twist or whatever reveal to be very predictable and it kind of after watching the trailer it kind of did exactly what I expected a Yorgos Lanthamos movie about this subject to do you know and there was some discussion and kind of in investigating the topics like you know topics of that, again, yeah, Eddington kind of address, I feel like, in a much thornier and more interesting way. But it does kind of glance off of these topics like conspiracy theories,

you know, the climate damage, damage with climate and class disparity, all of that, you know, these things that are very interesting. But I feel like it didn't do it in a very unique or compelling way and ultimately it just kind of turned these characters who it tries to show a lot of sympathy towards and tries to bring us to empathize with. It kind of inadvertently turns them into just kind of these grotesques that we can laugh at. I'm not saying that I didn't feel like sympathy for Teddy and Don and what they're going through, but I think that because the movie isn't that invested in like getting to the nitty gritty and the details of why these guys are like conspiracy theorists. I just never really felt anything beyond like, oh yeah, this is like one long,

shaggy dog joke. And, you know, there's nothing wrong with doing that. I just personally, that's not like, I'm like, yeah, that's your ghost. That's, that's a your ghost movie. And the kind of like bleak, nihilistic affect that it has, and I'm not going to reveal it. Obviously, we're not in spoilers yet, but I just left the movie kind of going like, okay, yeah. Like, that's fine. Again, like the cinematography is beautiful.

The performances are wonderful. And I thought the script was kind of basic, which was written by Will Tracy, who is, he was a writer on Succession, and he wrote the film The Menu, which I thought is like a very interesting parallel because at the time when the menu came out, I also criticized it for kind of being a shallow, class critique and critique on like... I haven't seen it, but that's what it seems like to me. I think this is a lot better than the menu personally. I think it is better than the menu because Yorgo's Lampmost does have like such a unique visual style and like he clearly is injecting his own personality into like what the script was.

The menu is very basic, at least visually. That's what it seems like. I felt like the lead actors here were able to elevate something that could have been like menu tier. Yeah. Yeah, it's definitely, it's leaning on the menu a little bit. Like, you could feel it going that way, but Yorgos Lantamos, you know, to his benefit, was able to turn something more interesting out of this.

I still don't think it was enough for me to, like, want to revisit or really have any, like, deeper feelings about it. Like, I totally respect the fact that there are people identifying and having a lot of feelings relating to Teddy and Don and everything because it is a very, like, loaded. subject. Like we're talking about these guys kidnapping a billionaire, you know, CEO, basically Emma Stone is a female Jeff Bezos and the guys, they work for Amazon. And it's like touching on these difficult things. But at the end of the day, the movie just, you know, doesn't, I feel like it's not engaging or doing anything interesting or investigating enough into this to kind of justify

all of the effort that it's doing. You know, I just kind of wanted to, I just kind of wanted to little bit more. And yeah, that's kind of where I'm standing with it. I guess, yeah, if the film's goal was to provide, like, more of, like, a thorough commentary on those subjects, then, then, yeah, like, that, that's a fair criticism. I think that, like, the way that I see it, it's more just like, okay, we've found a set piece that we want to use. It's like, you know, setting it in a time period without, like, really delving into, like,

every single thing that, you know, exists within the time period. but like, okay, yeah, here's the setting. It's pretty modern. It is a remake of like a Korean film that I didn't have time to watch called Save the Green Planet. Yeah. And I expect it to be pretty different because, you know, obviously, you know, there's a lot of modern elements to this. I found it to be like, I had a moment where I was like, I'm actually sad that I've seen so many movies now where, like, people feel like they have to address this type of person whose brain has been ruined by the internet. I'm like, damn, like, everybody knows, like, a few, like, at this point, like, fuck.

It's like a real phenomenon. Like, it's a real issue. Like, it's sad. Like, how do you address that? How do you even do that? That's why it's like a recurring character in movies now. Yeah. Yeah.

No, that's kind of what I found so interesting about it as far as like that, that angst and that nihilism that wasn't really working for you, Jake, was kind of, it was making me feel uncomfortable, but also I was writing that humor that was coming from it. There was something darkly funny and funny and fun. up about what was being presented through the like kind of quirkiness of what we're seeing through every returning shot of Jesse Pumman's on that bike and just like it's such a like freakish situation. Yeah. And I agree with like the overall commentary of the film which without going in spoilers does I don't even know what it's saying overall by like the very end of it outside of like an absurdist like we're just curked like kind of like full stop towards the end. Which I think it might be as simple as that. But yeah, yeah. The journey there. I I found interesting. So I'm a sucker for these bottom movies. Just get good performers together with good enough dialogue.

And I thought it was good enough and interesting enough. And the hook was there. I was doing enough that I was compelled all the way through. Yeah. I mean, I enjoyed it overall. But I do find myself like somewhere between both of your perspectives. Like what both of you were saying is like connecting with me in some way. Because, you know, I, when I watch a Yorgos film, like, I want him to go like even harder.

I want him to go like even crazier. I want things to be like weirder. And I want every shot to look like I'm confused at how that, why they would shoot it that way and be like constantly thinking about like the lenses and, you know, like that. Poor, poor things was very fun in that way.

And that was, that's my favorite of his, I think. But yeah, like it did, it did kind of just like have to get crazy or near the end. Like even the music, like the score,

which I really loved is something where it's like, you know, I was getting little hints of something. thing near the beginning and just kind of like wishing it would pick up and then eventually it did eventually it did and so yeah I do I do if the film had continued like the first half of it then I might be like more closer to Jake's experience like if they never gave me the the thing that I was wanting and expecting out of a Yorgos film then sure but I do feel like it wasn't like a useless you know waste of time to get there

either. Like, it was good enough that I don't feel like, you know, get chop away the first half or anything. And I have to admit, like, I am coming into this with like a bias. I do have like this feeling. And just with his projects that I'm not really like on the wavelength to be receptive to him, like his style and his attitude to like his subjects and this kind of like this dark humor that I think sometimes comes off as a bit like, you know, rubbing your nose and things. And I get that's kind of like part of the fun of it. But, and it's weird because I've seen similar reactions to people talking about Eddington and being like, I hated that kind of tone, that kind of like mocking, like shoving your face and all this shit.

And to me, I just have such a different reaction to Ariaster compared to your ghost land ofos. I have no idea what it is. I think I have an idea. What? This is going to sound weird. I think that the way that your ghost communicates his messaging is a very kind of like European way to do it. Maybe. Yeah, maybe.

Yeah. No, I think that that's kind of it. No, definitely is. Yeah, perhaps. Like, it's a different style of like humor and that nihilism within it is like a, I do think that it's kind of like a cultural thing. Yeah. And maybe it is a cultural thing that like these little details is at least in like, And also, he's, this is a very, this is about America.

Like, this movie's very, like, these are American characters, very American types of people. You got it to get greenlit? Yeah, I mean, it's like, I know people like, you know, not people quite like this, but, you know, I know people and like this. So it's like, it's just, uh, something was not clicking right. And I just felt a bit off about it. And, um, I can't really go get further into it. I mean, I have to say, like, I, sometimes some movies, it's just. like not on your wavelength and I totally get why people are connecting to this and I

I will say like the concept and how it's delivered it is entertaining like I wasn't really bored while watching it there are funny sequences I like stav in the movie like he was it was funny and the ending it kind of ramps up in absurdity where you're just kind of like fuck it like all right whatever this is this is weird and I was definitely more engaged in like the final act of the film. But again, that ending and just kind of like where it left me, I was just kind of like, yeah, like technically very, very well done. But all right, let's get into it.

Yeah, let's get into it. Spoiler tag. All right. So. The ending, uh, she was an alien. She was alien. She was a real alien. She was a big alien.

Which I mean, yeah, it was, it could only go like one of two directions, really. So like that was, I didn't find myself like surprised by the reveal. but I do like how they approached it. I didn't find myself disappointed with like how they did it. Well, three options, right? Because they could have left it like open or ambiguous. Yeah. But I like that they committed to one and were like, oh, okay, we're going here.

We're taking it there. Yeah, yeah. I don't actually know how else you could really end this in a satisfying way, actually. Yeah. With what they put down. I was really hoping, because it would be very like anti-Yorgos in a way to not do the big alien reveal. Like, if it was just like this really sober, like, she ends up getting killed by him or something

very dark, but in like a realistic way, I'd be like, that'd be kind of surprised. I'd be very surprised. But like, this ending is just like, yeah, of course, of course. You have to do this. And then like that whole sequence where she's like in the alien spaceship, something about the set design and everything was just so like silly. And I'm just like, all right, how much longer is this movie going to spend up here? I kind of like that.

I mean, I think the set design and the costume was intentionally supposed to be like kind of taking the piss, you know? Like, they were basically wearing like crocheted, like costumes, which I found funny. Yeah, they're like wearing little Telitubbies costumes. Like hand knitted. And then she wipes out the human race. Yeah, it was great. With a sidebag. Yeah, just like popping in a bubble.

With the, and it's very Doctor Strange love with like the happy song playing over all these images of people being dead. and um but again i was just asking like what what is the what is the point i mean exactly i was just missing it yeah it what was the point like we're all fucking dead yeah we suck yeah well i find that interesting that they wind up kind of with the jesse bernan's character that he was right the whole time so what is the film saying by uh kind of Exactly. Leading into his theories and observations, being like this is this insane guy who feel most of the film you're on,

you know, her side, obviously. Yeah. Because he's being like this insane kidnapper. But then to like feed into the delusions at the end. What is the film saying then about like misinformation or finding your own information and going down these rabbit holes and.

I mean, now that I'm realizing it, like I don't know if I've seen like a single Yorgo. film where I found it to be like explicitly about the messaging. And maybe that's why, because, you know, if it was like a film that I found to be trying to promote like a specific idea, then I might be concerned that they're enabling like crazies, you know, like watching this. And it's like, oh, yeah, you're justified in actually doing all this interest. Yeah, you could read it that one.

I never get that impression watching a Yorgos film. I just, I feel like it's just he finds something that's fun as a set piece. and like the types of characters to create a story where the end goal is just to show something wacky and dumb, nihilistic. Yeah. It's just an inherent drama, isn't it? To take these two extremes, put them in the same room together. And just whatever happens from there is kind of inherently interesting, which, um, there is the other

character we haven't mentioned, because there's only a small cast, right? There's the Don character. Love that. What do we feel about this guy? Um, because I thought that was an interesting, um, kind of slant on a character, Teddy and Don. The way that he's portrayed is like very authentic in ways that like a lot of films have tried and failed miserably. Yeah. And so I don't know like, you know, I, this is his first feature.

So I don't know exactly like what his disposition is, you know, outside of this film. But either way, like he's got a very demanding role in ways that like most people aren't going to appreciate. Like really. Like he's doing shit in this movie that's like. Like, you know, potentially more demanding than like fucking Emma or Jesse, you know? Well, he's the heart of the movie. Yeah, he very much is. Yeah.

Heart of the movie. And that's something that pissed me off too is how he goes out because it just felt like, okay, come on. Like, really? See, this is kind of what, yeah, I think there's been like some common themes with the movies that you don't like. It's like, you know, a European director will like do something that might piss someone off. And that's part of why it's funny. And then you're like, fuck, that piss me off.

If you're just making me mad just to make me mad, like, what? It reminds me of the Michelle Hanukkah discussions we've had, you know? Yeah. Yeah, true. Because I feel like that's exactly why your ghost did it. Not to be like, aha, I'm making everyone mad. But just to be like, you know, like, fuck it. You know, we're killing this sympathetic character because we can.

Right. To me, it's like, I don't know, the concept of like killing a child in a film. I'm like, yeah, you made a real movie. You didn't like. You didn't sugarcoat things or you didn't like dance around a potential option or or pretend like it was an option and then not do it, right? Like no. And the horror of the kind of situation escalates as it goes along too. Because it does, it's more like darkly funny at the beginning with like the antihistamine on my skin and whatnot.

But by the time you get to the like the torture scene with the electricity, the suppose therapy. that's like a really distressingly put together sequence I don't know if they were trying to like if that was one of the branches they were going down where like you can't trust what's going on from her perspective from that point because she's like literally fried but I don't know yeah maybe it's just doing a fair amount

and you can think about it from different ways but I do think that like an absurdist tone and over the top characters is as you're getting at Adam what it's going for first and foremost to kind of entertain you and shock you and make you feel uncomfortable and a bit sick. And that's kind of why I've always gone to its movies.

And I usually get that actually in some form or another. Yeah. To see something that you might not get out of a different film. And which was interesting because, you know, as I said before, like I was kind of like waiting for it to feel like an explicitly Yorgos film. The way that he's kind of like held back and reserved in terms of how this is presented, edited, etc. is like the first half of this movie, you know, most of it, you could probably have gotten

someone else to direct it, you know? Most of it doesn't feel like, oh yeah, this is your ghost. But then, you know, second half of the movie, it feels like, oh, yeah, this is your ghost, for sure. Yeah, because it's not doing like a kinds of kindness thing, which was what the anthology kind of stories with like a... Did you watch that, Jake? I didn't see that.

Yeah. Yeah. It was like anthologies. with a looser kind of thematic through line. So this is more kind of simplified with the main. Difference, I guess, there's this countdown, the four-day countdown to the lunar eclipse. Yeah, yeah.

Which shout out to, like, the production design is usually really great. One is movies as far as, like, text choices, font choices, this poster design, like title cards, all of that is also artful and consistent. I always love that as, like, a detail in his movies. So a lot of films don't seem to really even care about. as like a point of flare or design or a way to communicate some of like style or story. So I thought that was really cool here.

Yeah, real art. And that's just been an ongoing thing to shout out probably since. Like, dog tooth. Honestly, like it's always a consistently interesting thing about the design of his movies. Yeah. Yeah. I mean, visually I was wondering if perhaps he wasn't going as crazy and it balls to the wall as in poor things because I believe this whole movie was shot in VistaVision.

and that may have constrained their choices somewhat, at least in terms of the lenses and all that sort of thing. That's a weird choice, actually. That's interesting. It's such a small, like, contained film, really, but they shot it on Vista. I don't know why. The estimated budget, according to Wikipedia, is $45 to $55 million. That's crazy. You'd think it shouldn't have to be that.

It's his most expensive film, right? Yeah, like, what the hell? I think so, yeah. Like what how does that make any sense? You think poor things would be way more than that. Yeah, you'd imagine it'd be poor things. Yeah, like, I don't know. Is that real?

It must be going to actors, right? I'm just going to look up the poor. Yeah, poor things budget was estimated at 35 million. But there's only like four actors in this movie. Yeah, what the hell? I don't understand. But yeah, maybe just shooting on Vistavision did that. Yorgo's got an 80% cut.

So, you know. That's funny. I mean, it does look great. Like, I love the colors and the aspect ratio and everything. Yeah. It does look amazing, but that is quite high for like the few locations that there are in characters. Yeah, it was a fun, interesting movie. And I think I would have liked it more if I found it even more funny.

But I feel like there was like a conflicting emotion and that emotion was sadness. Because I felt like, you know, the character of Jesse Plymonds just like, I was like, I was like, Oh, buddy, you know, like I was just, I felt bad for him the entire time. I felt bad for everybody. And, you know, I was feeling things. That's good. But like, yeah, I kind of wanted to laugh a bit more. And there was funny parts. Don't give me wrong. Yeah, you're like, curl your toes. It's so, like, awkward. It's cringe. You know, when the, you know, yeah, is cringe. The whole cop character coming in and, like, apologizing for molesting. I knew that that's where it was going to. Oh, my fucking God. Yeah. But just relishing.

in that awkward tone is, yeah, what I like about it, to be honest. I don't know. As a Brit, I feel like cringe humor is just like, that speaks to me on like another level. Exactly. I love that, I love that kind of awkward, kind of bear to be in the room type of atmosphere. Your guess is just to master it. Well, I want to save some time for the Requiem discussion, so we should probably wrap this up. I'm giving this one a seven out of ten.

it wouldn't watch this sooner than rewatching board things you know rewatch this sooner than rewatching that yeah enjoyable it could have could have been more extreme could have been funnier for me but otherwise well made and you know satisfied my itch yeah I agree it's not quite on the same level as poor things but I did enjoy it more than kinds of kindness I don't know I think this is a big accessible one for him in comparison to what he can be but I liked what it was going forward. It was saying the whole like B-Queen metaphor in this colony collapse disorder

I found really interesting. I liked it from every angle. I'm thinking like a low four-star actually. After this combo, I'm kind of convinced to put it up a little bit. Nice. All right. And I'm going to be a little stinker and give this a five out of ten.

Uh-oh, stinky. Nice. Yeah. I like it when there's range. Yeah, sometimes. Sometimes you just got to go out there, you know, and say, fuck it. Fuck it. Damn straight. Fuck it, man. I'm being a stinker today. Yep.

Damn. Yeah. I'm on my stinker orc. All right. It was my recommendation. And I recommended Requiem for a dream because I'd wanted to for a while. It's a classic. It's the type of movie that I can, you know, just always, just watch again. And also, uh, Jared Leto was in it and Marlon Wayans. And we talked about them last episode. I figured it would make sense.

And that's kind of funny that, yeah, now Keith David in this episode too. Yeah, I love this movie. Very maximalist and fucking unique and somehow still unique despite how many films copied it. Pretty revolutionary for its time, I think. What did you guys think? So I've seen this once before, probably decades ago at this point, at least over a decade. I thought it was excellent, but I just, I don't know, it just sits in one of those buckets for me where it's like a level of intensity or like I need to be in a certain mood to deal with what this film is doing. But it's like incredibly put together though.

So I can't complain about that side of it, the intensity of it, because that is what makes it stand out, what makes it. It's so fucking iconic. Like that music, the atmosphere is so horrifying. I'm also a sucker for like these stories about addiction. And obviously that's what the title's getting at, this idea of like, your dreams are going to die because of this horrifying affliction that the four main characters in this movie were all affected by in one way or another.

But it's not, it doesn't feel like her PSA. It feels like it's interested in kind of like a human, more complicated level. Yeah. As far as like it's not, we're not indulging in these big scenes of people taking heroin. The word heroin has even mentioned once in the entire movie. True, actually.

Different types of addiction affecting four different people and from four completely different backgrounds, four different circumstances. And what it's able to achieve in, I mean, it just flies by. Like, it's like an hour and 40 minute long itch. You're like so uncomfortable. You can't, like, stay still.

And that's like the whole point of it. It makes it feel like you're it. for your next like hit. It's a it's quite incredible he's filmmaking. Hell yeah. Is that what they were doing heroin? I thought they were doing weed. I thought they were shooting weed under their arm. Super weed. Yeah, super weed maybe. They were doing the they were smoking the reefer. Yeah, I've never seen this before. I've just heard that it's notoriously hard to watch or whatever. It's like a horror film about drugs and I didn't know Jared Letto was in this. And I'm going to be totally honest with you guys.

I did not care for his performance. I thought she was maybe the worst part of the film. And I just got to give a shout out to Ellen Burstyn, who was definitely the best part of this movie. She is insanely good in this. Yeah. Insane is the right way to say it. She's insane. Like, it's so it's an incredible performance.

And she is so good. And the fact that she was like went this crazy with this. I mean, what Darren Arnaowski, what he did pie right before this, right? This was the only other thing we've done. So this is a second. To have this kind of trust with the filmmaker and just let it all out there, you know, at the age she was when she did this, it's really something. And that goes for all the actors, really, but especially Ellen Burson, who was like a screen legend. So. Yeah.

She's the standout for sure as far as performance, I think. Yeah, yeah. Yeah. I haven't seen Aaron Brockovich, but Julia Roberts won the Oscar instead of Ellen Burstyn. Okay. Well, Ellen Burston won already, so. Shut up. She won for, Alice doesn't live here anymore, I believe.

So? She had her chance. Just move aside, old lady. Come on. Whoa. Let Julia Roberts get one. Fine. But still, I consider Ellen Burstyn's performance in this movie to be like one of the best, like ever, really.

Like there's so many details within the performance that I'm just like, I don't even see an actor. I literally just see the character. Like, I have to remind myself that I'm watching a performance. It's insane. One of my favorite, like, performance moments from any film, really, is during her monologue when she's talking about how she, you know, like wants to watch their, or wear the red dress again when Harry's visiting. And there's this moment where she's, you know, the line is, I'm lonely, I'm old. And in that performance, you can see the layer of her character kind of like coming to terms

with it as she's saying it herself. Like she's scared of those words, but like is saying them not wanting to confront them. And it's as if she's no longer just saying the words to Harry, who is the other person in the room, but she's saying the words to herself. And you can see her, you can see the gears turning and how she's like internalizing it, which is incredible. Like it's, I love seeing performances where, where you can tell what the character is like not wanting to confront and in some ways like almost trying to hide. It's such an interesting little performance detail that it's just, yeah. And then over the course of the film, like, especially with how fucked up she gets. Like, I'm sure she lost weight for that.

The makeup does a really incredible job selling it. Like, yeah, she turns into, I guess, spoilers. Spoilers everybody for a movie from 2000s. She turns into like an actual, like, she loses her fucking mind. It's insane. I love it. Yeah, she's completely lost. There's like a different type of sadness attached to all these characters and for her in particular.

This delusion about wanting to be on TV and just watching that delusion and the, her just fall apart as a person is so tragic. The whole film is tragic, but that is the branch of the fall for me that I think affects me the most. I'm curious to go back to the Jared Leto thing. I actually didn't find that distracting. I don't know if that's because I've seen the film before. So there was just like an expectation of like, yeah, he was in some good stuff before, like, he was the Joker, I guess. He was in Fight Club. So that didn't actually bug me.

Did you think about that, Adam, and watching this again? Or you just used to it? You know, it's kind of fun. Well, so he's doing like a Brooklyn accent. Yeah. And in that sense, I'm sure that there's like nuances to the Brooklyn accent that he's not nailing. But. I like it to do it to drugs.

I like the drugs, ma, come on, ma. That was it that bad. Yeah, I wouldn't know. I would have no idea on that one. If you're closer to the New York culture, that's going to stand out a bit more. And I did kind of notice it, like, close to the beginning. But, like, over the course of the film, like, it's so easy to get used to for me. And it's not like, I don't think he butchered it.

I don't think he'd, like, butcher the role at all. I think that, like, performance-wise, you know, maybe perhaps ignoring, like, the details of the accent, I think he sells being the character that he's playing, for sure. You know, skinny drug addict, you know, someone who is doing immoral things to get their fix and is kind of dumb but doesn't have proper support systems and, you know, still loves his mom. And, you know, as soon as he has money to not be stealing your TV, gets her a new one sort of thing. And, you know, it's like there's a bit of complexity to his character. he's not like a black or white sort of like good or bad type character. Right.

And I think that he does sell that well. I think he works well for the role. Yeah. The movie is really impressive. Like I, just from the opening scene where it's like using the split screen to just, it just has all this energy. It's willing to do whatever and try all these different stylistic things. And that's something I love.

I love when a movie or a filmmaker goes for that and just does all the little film school tricks to just throw it all at the screen. I'm like, why aren't more movies like that? That's something I love about like Raising Arizona where it's just all this energy and dynamism. Like, it's so dynamic and interesting to watch. And the movie really moves. I didn't expect to watch the whole thing last night.

I thought I was going to have to finish some of it today, but I just finished it all last night because I'm like, Jesus, like this, it's not a long movie, but also you're just, you're just following these characters. There's not like a really strong plot or anything. you don't really know what's happening necessarily, but you're just, you're living it with them. It's a very simple play.

Yeah. Yeah, it just grabs you and pulls you down into the downward spiral and won't let you out. And once it gets momentum, it like just doesn't fucking stop. You're like just watching like this montage of like insanity for like an extended period of time. I find this movie to be one of the shortest feeling movies.

You know, like an hour through the movie. I'm like, what? It's been like five minutes. You know? I think there's something about, because train spotting came out just before, right, too. I feel like there's a lot of parallels with that kind of hyper-reality and the subject matter.

Yes. And just that, like, over-emphasizing of things, giving it that almost, like, cartoonish. I love the use of sounds and just to emphasize things. And you mentioned the word montage. Like, the whole movie's kind of edited like a montage. It's so, like, intense and the implications of, and use of how the editing is used to communicate, time is super interesting in this movie, how much time is jumping forward or just how much it's accomplishing without having to literally show it and just through the cut is implying some kind

of storytelling, some progression, which makes it hit a lot harder. Actually, like the implication of it is often a much more like a powerful than maybe literally showing something like these drug usage, which is, I mean, almost entirely implied throughout the movie through these montages, the close-up of the eyes and the coffee drinking and making these links not just with a substance like heroin, but, you know, TV and gambling and just in every single like vein of the film. Yeah, like, I mean, it's it's a stylistic way to draw parallels between all of those behaviors, like you said.

Like they, they use the same format to show her, like, checking the mail. like because she's yeah you know anticipating and like waiting for like this this letter back she's compulsively checking right when when when it's a compulsive behavior in a pattern that you're just like finding yourself into because you have some sort of like greater want or need or fix or like insecurity or like a hole in you that you're trying to fill and then it just becomes like a compulsive pattern like yeah even checking the mail like that depending on what the overall, you know, context is, can be a compulsive behavior like that. I like that it's drawing those parallels.

Yeah. And just how normalize so many of these addictive concepts are without even thinking about it. Like the guys in the hospital just casually talking about gambling and how much they lost, but it's like funny in that context. And they're talking about it in a lighthearted way. Yeah, up against these super high stakes of, you know, people losing parts of their bodies or whatever.

it may be. Yeah. I don't know. There's something so disorienting about this movie that I love. It really throws you off and it really feels like it's exploring the subject matter not only in like a literal plot way, someone getting addicted to a substance, but like the the feeling of it, that escalation like you're being sucked in to something in the same way an addiction would. Yeah. No, it's a it's a wild ride. Like to me it's an exciting. Like, it's, it's like, this is my Marvel movie. This is my amusement park, theme park ride movie.

You know, I'm just like, I'm having fun. I'm just like, I'm stimulated. It's my, this is my fix, right? It's my addiction. Can I say something that might sound a little strange? Please, always. Okay. Movies aren't really shot like this anymore.

Like, mainstream films, they're not, they don't have this energy, this like kinetic energy that you see from a lot of movies from like the 90s or whatever. And I'm wondering if something, something died with internet video and the fact that we see vlogs, like David Dobrick is going to be filming things with this kinetic energy, with this like montage with, you know, like people can,

anyone can shoot like a vlog or something with this kind of energy. Have you seen an I show speed stream? Holy shit. Right. But like editing is available to anyone. And it's like this kind of kinetic frenzied energy is like really well captured, especially online with like very professionally done videos or whatever from mainstream people to try to capture your energy and keep you engage with that TikTok editing.

So now like the realm of cinema is like that's trashy to do almost. It's kind of like, well, more. longer takes, distanced, bigger feeling, vista vision. You know, it's like, I feel like there's always this pull and push, especially in the older days between television and film, but now it's between, you know, TV film and internet video. So I wonder if that's partly a reason that it's, that's where, that's what happened. Who knows?

I thought you were going to go, I thought you were going to mention another thing when you said something died between older. Yeah. I thought you were going to mention another early 2000s, New York thing. Oh, 9-11, 9-11, 9-11, 9-11. It's just one year off, I guess. That just went. How could I forget?

Yeah, 9-11 happened. It's probably like it happened. I'm not convinced that, like, you know, again, this is like a bias that we always have with the past. Like, I don't know how many directors were really doing this kind of style back then. Like, I mean, like, sure, we can handpick examples from, you know, films being edited or shot like this. But there's, there's directors. is doing it today, like similar weird kind of maximalist things, like Buzz Lerman, who I don't like at all. And if his movies were more like Requiem for a dream than I might, you know, even if you

wanted to keep the same tone, like, if you just had a bit more like purpose or intent or like craftsmanship or like better script or acting, et cetera, et cetera, you know, Yorgos is like a director that, you know, he's pretty out there. That's, that's part of the reason why I loved poor things so much is just because it's so weird and, um, I don't know if, yeah, I don't know. Yeah. I don't, I don't, struggling to find the words like snappy or like Danny Boyle's uh yeah 208 years later was yeah similar yeah don't know is a big one a lot of his movies feel that way I heard that like some of the newer Michael Bay films are also pretty like wacky in that sense ambulance yeah somebody said ambulance was fun I didn't watch it yet

but I haven't see it either but I heard that as well yeah okay cool it's a film Twitter favorite yeah um so I don't know if I agree with the idea that there are like a lot less directors or films like doing things like this. And I'll also say there's not really anything that's really that close to this movie at all anyway. You know, there's a lot of things that tried to copy it, but somehow I think it still stays distinct because that's the, you know, the hallmark of a great classic is that, you know, even though there are a lot of copycats, nothing will ever really fulfill the same niche or, or, uh, nothing will ever replicate exactly what it was going for, even though a lot of tried.

A lot of the, yeah, a lot of the ones that try that do succeed are his own movies. Exactly. Like a whale or black swan, you know, similar kind of concepts or ideas or intensities. That's what I like about him as a filmmaker. I will say, like, as much as I enjoyed this film, and it is, very entertaining. There were moments where it is so one note and kind of hammers you in to like the feeling of what's happening to these characters that it verges on to parody at certain sequences. Especially because I feel like this movie has become like drug language like in cinema.

Like the language of how it's depicted on screen is so... Exactly. And the music is so iconic that it's been reused and recycled in so many ways that there were moments in this film where it's like, I see Ellen Burstyn, you know, freaking out, and she's like moving in a million directions, and it's like all these, like, crazy effects in it's just, but-da-da-da-da-da. It's kind of funny. Yeah, the fridge jumping around. It's kind of funny, getting jump scared by a fridge.

And, you know, there was one moment that made me kind of smile a little bit where Marlon Wayans is sitting in this beautifully composed frame, sitting on his bed naked, looking at a photograph of his mom. And it's just like the music of, da-da-da-da-da. It's like, yeah. Like, what else is there to his character really? I don't know. Like, it's not so much about the characters as it is just like the experience. And like you're in their senses.

You're under their skin in such a unique way that I didn't really mind. But again, there were certain moments where it's just kind of like, this is a little silly and overcooked. I feel like that part of they're not being like incredibly deep detail. held complexities to these characters helps it feel like this could just be something that could happen to anybody, right? I don't think that they're like poorly written, but I do feel as though they do serve some sort of like vague, blank enough slate existence so that, you know, like you can see this

as being like, oh, yeah, I kind of know someone like this or this could be somebody that I did know at one point sort of thing. Yeah, you're going to map onto one of these four, like, more than the other ones. You're going to empathize of the perspectives more than others, but whether it be like if you want to relate to being on TV or just the idea of escaping your situation or getting rich or whatever, whatever your motivation is, whatever gets you ticking, it's going to be represented by one of these four.

So I agree. And just with that timeframe, it's like so quick, so short. And it just, you could say it's one note, but I feel like the way it's just brought to the screen is so, like, intense and does feel like it is ramping up. Yeah. with like the production and everything and editing and that song and the way that sound is used that it is accomplishing something outside of you know just like basic well he he defeated drugs

in the end plot it's really not exploring that it's kind of it's exploring like the what is lost to addiction which is kind of like that does touch everybody and goes beyond just like an individual at a certain point it's like this this dark concept that's just part of humanity really That's really sad and fucked up Yeah, the music is so fucking iconic That like In theaters Because the Lord of the Rings

Was like filmed They were releasing like one consecutively every year The trailer for the two towers Appeared at the end credits of Fellowship Basically It was like a sneak peek Sort of like ooh

Get ready for the next movie Yeah I remember And they used a Like orchestral orchestral string rendition of, I guess the other one's string too, but they used a more professional orchestra sounding rather than a quartet rendition of that main theme in the two-towers trailer, in the theater, like, at the end of fellowship, and it was kind of interesting.

So even before internet and meme culture and, like, YouTubers using it in every fucking, like, smosh-esque video in 2006, even before that, it was. it already like pierced the culture to such a degree where like other movies were just like, oh yeah, I'm going to use that now actually, you know? Yeah, no, there's like a whole ass list of the amount of times it's been used. Yeah. Not just like two towers as Da Vinci Code, Iron Legend, Sunshine, a bunch of video games as well. Assassin's Creed used it.

It's like everywhere. So you're going to have some kind of association with that track probably before even seeing the film. Exactly. You can't like avoid it. Which, I mean, yeah, it's like one of the, I don't know, is it considered a catch-22 or like a monkey's paw maybe with a film just being so culturally significant that if you haven't seen it when it came out, you're going to like, you're just going to know it by osmosis of like pop culture existing, you know? Right. Yeah, it's a weird situation.

I mean, it's like Goodfellas. You watch Goodfellas and it's like, oh, that's every gangster movie. And it's like no, no, no. Yeah. Not when it came out. Same with diehard. I think, yeah, it is that monkeys poor of like when you just nail something and become the language for it. It's like the idea of, um, uh, like the clash being so popular.

Yeah. But as a punk rock band, it's like how you're supposed to be punk rock when you're like mainstream and that same kind of like. I like this on paper planes. Yeah. Like, am I? Yeah. Well, maybe that's a part of the strange, uh, of Darren Aronovsky's career where it's like he's no longer this young whippersnapper

making daring strange art. Now he's like this, who, what even is he now? You know, like he's had such a strange career. I mean, I'm just looking at it now. Pi, he says nothing left to prove. Like he's, that's what it feels like in a way. You know, like he's such good stuff behind him now. Yeah, I mean, Pye, the wrestler, Noah. The five. He's, he, He didn't do the fighter. The fountain, mother, black swan. How many of these have you seen? Have you seen a lot?

I have seen, I've just seen the Requiem for a dream and caught stealing. Cool stealing. Oh, wow. Oh, yeah, no, yeah. That's how I remember you said that was your first Aronovsky. That's very interesting. No, yeah, black swan's incredible. Yeah, black swan's my other favorite from him for sure.

I actually love the whale, too. No, yeah, the whale's great. People seem to have like turned on the whale a little bit, but I'm with it. I really like it in a similar way. You guys like the whale? I thought people just hated on it. Yeah, well, people did and I'm not people, so. Because of the funny poster, right?

I mean more than that. I've had the ending spoiled to me in like a million Twitter reaction gifts. Sure. Oh, right. And yeah, out of context, the ending can be a little silly. But yeah, no, it's a great movie overall. It's very simple. I think it's really emotionally effective.

Yeah. But yeah, Aronovsky, like, like, I wouldn't want him in his career to try and replicate anything approximating Requiem for a dream. You know, maybe he could do it and I would be like happy with it. But like, I feel like that's, it's such a unique movie, you know, like, I don't know if he'd be able to properly capture that same magic, you know. And I feel like his directing is distinct enough and he's made interesting enough movies. Like, he's a director where I will watch whatever he makes. next no matter what and he doesn't you know not everything connects with me but enough has where it's

like okay yeah i'm taking the risk and it doesn't feel like a big risk yeah there's such a wide range to choose from so i was like yeah jumping from a pie to a black swan to a mother no to a whale yeah no way just in the minute that's the only one i would just straight up say it's like bad to me that i've seen um i think i'd revisit every single other one including cult stealing were you were you were you in Vegas when we saw postcards from Earth? Yeah. Yeah, yeah.

I hadn't seen Kianosk yet. Oh, true, yeah. So, that makes a difference. Damn. Yeah, I find it fucking insane that the only Oscar nom that it had was for Ellen Burstyn,

which if you were going to do one, then yeah, that would be the one. But I feel like this movie was like too cool and two ahead of its time for the academy to actually acknowledge it in any other way. Like, I literally think that they just weren't ready for this type of movie.

Yeah. Because you could easily... You should go editing. Editing would be the most obvious thing to give it a nomination for. The score? Mm-hmm. If, you know, like, it's pierced the culture

so fucking much. Give it a score nom. Jesus Christ. I don't see what won. Directing. You know, like, there's so... There's a, there's a, good handful of things you could have like given it a nom for editing and score would be like some

pretty fucking obvious ones um but yeah i think i think it was too cool for the oscars and they just had no idea what the fucking do too ahead of its time oh it's up against the uh the matrix that is an unfortunate one to be up against is it for for editing at least no you're thinking uh the osk the 2021 Oscars are for uh sorry the 2001 Oscars are for 2000s film The Matrix was 1990. So it would have been... That was traffic then. Yeah.

Gladiator won best picture that year. Didn't even watch it. You've never seen Gladiator? Do I have to? What? You know what? I only saw Gladiator last year in order to watch Gladiator 2 and Gladiator is legit a good movie.

I was maybe going to do that. No, I'm sure I'll like it. I'm just like... I've only seen it once, actually. Gladiator 2 is a piece of shit. It is so bad. My opinion on Ridley Scott... I don't...

Has he made anything that I've, like, absolutely loved? Blade Runner. Whatever. Let's not talk about this right now. Yeah, this rabbit hole. No, yeah. The, um, in Requiem for a Dream,

not just like the, you know, like, hyper, quick, quick succession of, like, showing,

like, a zoomed in version with, like, a sound effect to go with every single action. Yeah, sound design that would be an easy one. But also, like,

um, the amount of times that, they use the kind of like time lapsey sped up footage, which again, you know, kind of like illustrates and reinforces the idea of like people being stuck in patterns and behaviors, right? Like there's so much time that they're spending doing this thing. Yeah. Kind of gets you to just like confront that as a concept. Some people do say the score is overused. Maybe that would be an issue for me if the score wasn't fucking awesome the entire time. You know?

Or if the film was longer. Yeah. Yeah, yeah, yeah. Like, who knows? Like, I feel like it was varied enough in the sense that, like, yeah, sure, they play the same themes a couple times. But, like, they even change up kind of how they use them. It's got a different range of moods to it as well. Yeah.

I like that sequence where Jared Leto and Jennifer Collinie are arguing, like, I guess, in the second half of the movie. And they play two themes. that had been incorporated previously at the same time and they're kind of like competing for space which is like a really cool kind of concept and I love how it intentionally presents itself

especially with audio in a way that's like oh yeah we're we're doing something that's like kind of jarring and you can hear the loops you can hear the loops this isn't like a full piece from an orchestra this is this is a quartet and we sampled it essentially and then just played it back multiple times.

I like that it's not hiding the fact that it used editing, you know? It's a similar sense from the audio as you're getting from the visuals. Like, it's a very clear, like, oh, yeah, we've edited this movie. You're supposed to be reminded of the editing. This isn't a don't think about the editing sort of thing. I like that that's consistent with the audio. You know, as I finished the film and as I was spruing on it, some, the image that stuck to my head was from the final scene of the film and I think you captured

it perfectly in your opening line to this podcast. It's a very bold move to just, I was surprised. I was like, okay, yeah, all right, we're just doing this with like the montage of Marlon Wayne's like working at a prison and like throwing up and Jennifer Connolly. Right, right. like forced labor and um jared letto getting his arm chopped off like that that whole montage sequence is insane like it's it's so close to being really it has been bad taste but it's just with so much gusto and like fucking what let just again balls to the wall like confidence you can

get you can get away with a lot in a movie if you just are really confident about it and I feel Like, that's 90% of this movie. Like, there are parts that are so cheesy, in my opinion, like, when Marlon Waynes is having that conversation with, like, the drug dealers in the limo, and then they all get shot. You get a white driver. I love that part. Yeah, they all get shot, and then it's like, fall. This is fall now. And the sequence of him running around with a camera attached to him and whatever rig that is, that became iconic, too, from this movie.

Like that specific camera angle. So, but it is like very, it's just so big and kind of stupid, but it works because it's not trying to be, it's trying to be universal in a way that's like, let's imagine this descent into the drug world through these two different paths. We have Ellen Burstyn, who's just like this mom who just gets messed up doing the uppers and all these drugs that a doctor gave her and this other world of her son getting messed up in this other way.

And it is kind of like, is this the best anti-drug PSA movie ever? Like how many people are like thinking, man, I'm gonna smoke this joint, how many people? And then they're just like, ah, but do I want to end up? You know, first it's marijuana,

then you're sucking Keith David's dick, you know, in a penthouse in Manhattan. Like, it's a slippery slope. You say that like that's a bad thing. Well, I think Jennifer Connelly for her character, it was a bad thing. She didn't want to. No. That's the problem.

But Keith David's such a nice guy who's hard to be like, oh, he played a good villainous character, I will say. Yeah. No, yeah. Some people do, you know, complain about like the PSA kind of nature to this as well. I feel like it works well for it because it's, you know, it's not a film that's exactly going for subtlety. it's a film that's like

throughout its entire presentation is like really in your face yeah and again like I said earlier like you can kind of just imagine anyone being like in these situations not like literally anyone but like it's universal enough especially with Ellen Burstyn's character

like yeah this can happen to a confused old woman that just doesn't have proper support systems and that's the connective you know similarity between these characters is none of them have proper support systems.

Really? I'd like to get fucking political about this shit because the exact same level of like intelligence, responsibility, or addiction to their vices,

you could have the exact same thing in a rich person and it wouldn't matter. Right? Like the characters, the, the three characters that aren't Ellen Burst in, like, they're doing all of this for money because they don't have money, right? He kept stealing, like, his mother's television. And then as soon as

he had money, he was able to buy her a new one. And, you know, he turned to selling drugs, they all did, for the money, because it was an easy way to do it, and that's what they knew, and it was something that they were familiar with and educated in their own kind of, like, personal experience way. And then, yeah, like, Ellen's, uh, Ellen's character, husband had passed away. She doesn't have, like, her son in her life that much. She cares a lot about him, but, like, you know, he's an addict. She's trying to, like, not have him get sent to jail, but doesn't know how to approach these things. She goes to the doctor for help. When things start going wrong, and she's noticing that she's, like, losing her mind a little bit, things aren't

the way they're supposed to be. She literally goes to the doctor for help, and the doctor's like, yeah that's normal here's a prescription you fill this prescription sort of thing which is like a perfect scene and it's so short and it's so sad yeah the no eye contact it's such such a good detail oh my god yeah the dehumanizing nature of him just not even looking at her yeah like people can just fall through the fucking cracks in our society in many ways not even just financially but like you know like there's a lot of people that just don't have anybody like looking out for them in any kind of way it's like what kind of fucking society is this if this can happen.

What the hell have we done? Yeah. It's not really an uplifting movie. It's not an uplifting subject. It's not really interested in, you know, Hollywood. I zing it. It's interesting because it's like this movie is so close to being bad that it's amazing. Sure.

Like it's on that edge. Like it's not taking the middle ground of safety. Like it's really going out. out there that if it was slightly less cool, if it was slightly less confident, it would be so lame. And if the performances weren't right, if the style wasn't correct, if it wasn't pushing boundaries, it would have been so, it would have been kind of cringe. Yeah, and it would have felt like a PSA. And it doesn't really. So that's just, that's really impressive. I do want to mention that the book, the movie is based on the book Requiem for a Dream by Hubert Selby Jr. who wrote Last Exit to

Brooklyn and you know he worked on the screenplay with Darren Aronofsky nice so yeah good for

good for writers yeah another thing that I noticed on this watch I think this is the time that I watched it the only time that I've seen it after like living in Georgia for

three years or whatever I think before the last time I watched it might have been before then maybe but I think that there's like more to get out of this movie when you have a better understanding of like not only the cultural differences between

states in the US but also the judicial system and how people treat drug users and criminals in general because like if Jared Letto's character was in New York when he went to the hospital

for that thing in his arm they probably wouldn't have arrested him right away they probably would have gotten him some help You know, like they probably would have treated him as a patient and then like, who knows, right? But like the fact that they were on the way to Florida, I assume they might have been in Georgia, if not like something approximating that. Seeing that kind of transpire in the hospital scene and how the prison guards, you know, wind up treating Marlon Wayne's character, et cetera, like that's all just like, oh yeah,

that would definitely happen in Georgia. Like, yeah, this is believable. Like this is very true to that. And so I like that that becomes its own kind of plot device conflict in the script. That's like, oh yeah, no, we need to go south to get these drugs because there's none here. And then, oops, you left a place that you might not have had as bad things happen to you. The US is crazy. Yeah.

The US is crazy. I mean, I wonder, too, if it's a bit of anachronism because I don't know, I mean, I have no idea. the year 2000 or in the late 90s, how he would have been treated with, you know, the drugs if he was in Georgia or wherever he was in the South. Yeah, maybe New York wouldn't have been that much better. I feel like it would have been different. I do wonder if it's kind of an an anachronism taken from the novel. I mean, the novel was written in the 70s.

It came out in 1978. So I do feel like the reaction to the drug crisis and all of that was, while not good and still is not good, would have probably. probably been a better, handled better in the year 2000, the end of the year in the year 1978. But I don't know. Not in Georgia. Yeah.

I mean, I don't know. I really don't know. I mean, that was something that kind of rubbed, I rubbed against watching this, rubbed again. I don't know. I said it like that. Sure. Something that I bumped against. I don't judge.

While watching this. That's like, okay, they brought him, he's in the hospital bed. and they're clearly going to start treating him. But then he's in the phone booth talking to Jennifer Connolly and then he's in a prison labor camp. So I was like, what happened? Why wasn't his arm treated? I don't know.

Maybe he left the hospital or something was... Oh, because their priority was to fucking arrest him. The priority was to fucking put him in jail before treating him. And then, you know, like they're literally screaming, fucking help us from the jail cell. And they're being ignored. And then, you know, just the system itself. watching these guards basically like discover like, oh yeah, this one's got like this

fucking thing on his arm. I guess we got it. I guess we have to send him to the hospital now. Like that's not an unbelievable thing in fucking the South in the States. Like, geez. Yeah. It's terrifying. It was a bit. I don't know. I have no idea. But it did seem like, like, really? This seems like a lot. No, it's cruel. It's a fucking cruel system. Because he was in the hospital. He was in the hospital. He was in the hospital and they took him. I would find that perfectly believable, honestly. There's a lot of cruelty when it comes to prisoners in the American South for sure.

Like the whole thing is literally just like, let's get free fucking slave labor and try to put as many people in jail as possible. Run for profit. Prisons are crazy. Like, yeah. Yeah. It's terrifying. It's legitimately terrifying. It's so fucked up.

America, man. Damn. Fucking out. Yeah. Yeah, I've got some, like, personal anecdotes and stories that I'm not going to share now, but, yeah. Mm-hmm. It's a terrifying system. You know, it's, it's a powerful movie.

It definitely, it leaves an impression. It's, the images are powerful. I mean, if anything, it's incredible because of how, like, much of a stereotype, how iconic it's become, that it is, like, again, it's like the language of how we think of drugs and doing drugs in cinema. Like, I mean, I'm just thinking about like TV shows too. Like anytime someone's doing drugs or breaking bad, like there's, you got to have the montage of all the bubbles and the pipes and all the, you know,

whatever. Like, you got to have that. That's obligatory now. That close up of like the dopamine hit. Yeah, yeah. The irises of the eyes widening. We can remake this movie for a newer generation. It'll be about TikTok.

You can call it Requiem for a meme. Oh, that's great. That's lovely. That's a modern tragedy. Copy right that one. That could be my first feature. That'll get greenlit. Talk to Darren Aronovsky.

He might want to get involved. My buddy. My boy. Best friend. Yeah, this is Marlon Wayans' best film. Well, and probably Jared Lettos. Actually, if you, well, Fight Club American Psycho, Jared Leto's been in a couple of great movies. The best one he starred in, the best lead role Leto.

Yeah, I think I'd agree with that. It's kind of unfair having him act up against Ellen Burstyn because that, like that scene where she's having a breakdown with him is so powerful when she's on the uppers and she's like kind of freaking out and he's like, what's wrong with you? I bought you a TV and all this stuff. And then after that scene, it's like just a great scene. After that scene, he's sitting in the cab and he has this moment where he like needs to cry on camera and have a breakdown. And it's just I laughed. I felt bad. I was like, this is really silly. Like he's just, he's just kind of pouting and then he just does the, you know, and I just didn't really buy it. So, you know,

I will say his acting has improved in the years since. And he was. was a really great in tron aries so i mean whatever he peaked to tron yeah he more yeah he had to go through requiem for a dream to get to tron aris rechium for a dream walked so that morbius could run yeah exactly sure exactly yeah i i i didn't get taken out by his performance yeah it's just like maybe the first five minutes i get used i have to get used to it and then it's fine but ma i'm going to i'm going to gonna buy you a TV, Ma. The drugs are bad for you, Ma.

Come on. No, I like that scene because it really humanizes his character. Because you can see, like, his experience with drugs. Like, he would never want to, like, wish that upon his own mother. And so, like, you can actually see it, like, torment him the fact that he knows that she's on amphetamines. Ma, why do you need the red dress, Ma? You look good.

You don't need a red dress, ma. Come on. I'm walking here, Ma. Is that you, Jared? Is that you, Ralph? I gave this film a 10 out of 10. Damn. Okay.

Wow, nice. Classic. I'm just a smidge below. This is like a four and a half star for me. Yeah, I love it as like an exploration of this concept, anything that gets people thinking about like the circumstance or concept that leads to people, you know, being destroyed by addiction. It is more common than people like to believe. It affects like every family, usually, one way or another, itchy and

uncomfortable, exactly as it should be in disorienting. Yeah. Yeah, excellent stuff. Eight out of ten. Nice. Eight, nine, ten. Wow. Yeah. That's a great, that's a great rating. Hell yeah. I thought you were going to go lower for some reason. No, no. I mean, I, I, I love Jared Lettos. accent. I mean, I might be mocking it, but I thought it would enhance the film. It was your favorite part. Your stinky arc is over. I like the, I mean, my favorite performances in order of appearance would be Ellen Burstyn, great, but above that, Jared Leto, and above that, the refrigerator. Yeah. It was a scary-ass fridge. I want to know what the hell the point of that show she was watching

what is. It's very vague. No red meat. What was number two? Oh, God. They never revealed number three. I can't remember, yeah. I was like, what the fuck is this show? There's prizes? What? It was like a game show. Juice by Harry.

And also self-help. Tallcoast. Like, it doesn't make any sense what the hell that would be, but it doesn't matter because it's... It felt like a dream game show. Exactly. It's a fucking nightmare. Here's a question. Do you think David Lynch was influenced by this film when making Inland Empire?

That's a... I don't think so. Well, you know, actually maybe a... couple parts, but I, no, I don't think so. Like the shot, some of the shots of Ellen Purston looking into the camera, like with that fish eye lens, I'm like, this is inland empire. This feels so inland empire. You know, I think it would be difficult to argue that like any film made after this point wasn't, you know, somewhat inspired. Like if it's going for like a weird, you know, kind of. Yeah, I was thinking of the substance.

weirdly. Yeah. With the guy eating and all that kind of stuff. The substance influenced this film. It would be hard not to be influenced by this in some way as a filmmaker in the 2000s. Yeah, for sure. Yeah. All right, let's do some questions then from the Sardonna cast community.

Head over to the suggestion thread over on the subreddit. If you only have questions for future episodes, just like Larson 16 did, who says, what are your thoughts on Scary Movie Six since the Wayan Brothers will come back to write it? what makes you think, sorry, what movies do you think? It will spoof. So I guess they're making another one. I don't even remember Scary Movie 5, I think I saw it. I think I've seen them all at these ones.

Yeah, I like. They start getting bad, right? If you told me that there wasn't a five, I might believe you. Yeah. I've allegedly watched it according to my IMDB rating, which is a 2. So I've seen it, which, and I guess that did paranormal activity in a few other. things. It would be cool to see them do like, I don't know, fucking

midsummer. Yeah, like Ariasta stuff, the obvious one. Robert Eggers. I have a feeling they're not going to. I feel like they're going to go for the bigger ones. Like, what?

Like smile. Smile, for sure. And like... Insidious. I mean, the whole the nun and all that. Honestly, yeah. Like, how many fucking movies, how many profitable movies have they made about like those two scammers? Yeah, the fucking, um, conjuring people. Hmm.

Oh, right. Yeah. Like, literally, yeah. Yeah, it's one of the biggest movies this year. This is the latest one. Could you imagine like, you know, someone, like, someone is, is preying on vulnerable, grieving people. Like, that's what those, that couple did.

And then they get a film franchise made off of them. and they're raking in the fucking cash, right? Pretending as if what they were doing was real. Yeah, must be like nearly 10 films. It's like crazy. Wait, is that what's going on? Yeah, they are huge. Yeah, there's like real people that the conjuring is based off of and they're just two scammers.

No, yeah, they're like, oh yeah, we investigate paranormal things and they just scammed people, vulnerable people. Wow. And now they're fucking, yeah, they're scamming the fucking universe. Wow. What a beautiful story. I mean, love is real, right? What a strong marriage. You know what?

I'm fucking just looking at the cast. I'm just, I would like to just see Anna Ferris and Regina Hall in the same film again. And you know what? This is how we do it. Great. Marlon Wayans. He's back. Sean Wayans is in the cast.

Nice. I don't know what they're going to do. I'm looking forward to it. So what year was Scary Movie 5? Like, what year was that? Um, it was only 20. On question. 11?

That was. I don't know. I closed the tab 2013 2013 it's been over 10 years recent well

Charlie Sheen was in it yeah he was that's crazy oh dear I guess they could do like get out and us and stuff like that okay

oh yeah there's a lot honestly there's a lot of territory for the up to cover yeah a Jordan Pell film type thing

wouldn't be that I'm looking forward to it and I'm going to watch it but I also expect it to be bad, and I do not expect that to ruin my enjoyment of it. That's exactly how I feel. That's probably the right approach to have, yeah. I feel like I'm probably not going to love it,

but I'm going to love that it exists and want to see it for some reason. Yeah. This director has not made good movies. You got phone memories of those early ones. I mean, realistically, they'd be going the legacy sequel route and be doing like a Halloween, 2018 type of, Rith.

Yeah. That might be annoying. Yeah. Maybe they should just remake the first scary movie. Yeah. Yeah. Like, but they're just old now. I don't know.

Okay, why not? It's not out yet, but fuck it. I mean, I'll watch it. 2026. Gives us enough time. And I guess speaking on remakes, I think, I think you've lost a bet at him, actually. Oh, what?

That was, yeah, do you? It was set on this podcast. I'm pretty sure. I haven't seen the thing that you sent me. I haven't watched it yet. Sure. I mean, I don't have an official question about it. I have to see it for myself.

I'm going to react to it on stream at some point. Okay. I'm so confused. Jake doesn't know what we're talking about. But yes, I believe that you're right based on what people have said. I just haven't reacted to it yet. Okay. Well, Extinction Annie.

Thanks for reminding me. As this to say. Reminding everyone. Do you think you didn't get it is ever a valid counterpoint when discussing media? I know the phrase has kind of become a meme, and I think somewhat taboo to say when discussing media that has any form of subtext. So I was curious if you think it holds any sort of merit. And discussions I've had in the past regarding certain media I've wanted to say it or something like that, when I believe someone is mischaracterizing a piece of media by end up biting my tongue and fear of sounding pretentious.

Yeah, that's a tough one. Um, the words you didn't get it is like an oversimplified way to try and correct like a misconception. Someone's experience with a film is not a misconception, but it can be built upon misconceptions. Right. So if someone says, I didn't vibe with the movie and if let's say hypothetically, their only reason was like a thing that they misinterpreted clearly, right? Then you might be able to like say, yeah, you didn't get it in that sense. But, like, I would never, I would never say those words because it seems like a very oversimplified. Yeah.

Like, and it should never be used to counteract someone's experience with the film. Just, like, individual points that they might be saying about something. Like, the people who, you know, didn't understand that, like, under the Silver Lake was commenting on sexism rather than, like, being pro sexism. Yeah, right. Yeah, like three billboards with the minor drama around that movie. Yeah. I think you should be allowed to say you didn't get it always. And I feel like you shouldn't be judged for that either.

I feel like it is acceptable. And I feel like more people should be saying you didn't get it because we shouldn't be sensitive. Like, okay, you didn't get it. That's fine. But here's the thing. If the other person says, no, no, no, I did get it. You have to back off. You got to let it go.

because you cannot argue what is going on inside someone's understanding. Even if it sounds like they didn't really get it, if they say, no, I got it. I just didn't like what they did. You got to let it go and move on. There's no winning that. Even though in your heart, you know they didn't get it, you just got to take the L there. Definitely, yeah, it can be part of the, like, review, right? Sure.

We saw that film at Vancouver Film Festival that was like definitely a film. I don't know. I put my hands up. I didn't fucking get it. fully, but it was like interesting and weird. Resurrection is what it was called. Yeah. And that was like, I feel like that's part of what makes it interesting, right? Or like, in the reaction to it. It's like, I didn't get it. Like, yeah, I feel like that's fine. Yeah. I just don't like how many people say that when it's in response to someone's experience with like a tone. Right? Like, you didn't get

the, you didn't get it can be used often by people who, just want someone else to be experiencing the same feeling and don't have the vocabulary or understanding to be able to articulate why someone might have a different experience, right? So I don't, I don't like, like if it's the difference between someone liking like Eddington versus Begonia or whatever, like you can't just be like, oh, you didn't get it because one person liked one more than the other, right? Like, sometimes it is just down to a feeling. Yeah, and I've seen people get, or I've seen people like movies and think they got it, but they got it in a different way than I got it. And I'm like, no, you're not enjoying it the correct way.

Like you have a wrong interpretation. And it's like, you got it or you don't got it. It doesn't really matter. I mean, at the end of the day, it's all subjective. But you shouldn't be trying to demean people and be like, well, you're actually not smart enough to understand it. Like, you just aren't, your brain isn't big enough to comprehend what it's. saying, which is why you don't like it. And it's like most of the time the person gets what it's trying to do. It just didn't hit for some reason. And that's another matter.

Yeah, maybe, depending on the movie. You have to have an I-O-Q to understand begonia. Yeah. True. Yeah, I feel like I've heard this the most, um, just anecdotally in my life through music. I feel like that's the most I've heard it where someone's been like, you don't get it. And sometimes I just don't get it. It's like a band I don't vibe with. they don't ban with like a voice or a tone or a certain sound or something. It's similar, but it's like, I just don't get, why people get so upset about it.

Like, it's fine. I really just don't get distressed if I show someone a movie that's strange or out there and they say, I didn't really get that. Didn't really get much out of that. Okay. It's like, it's literally fine. Well, see, when you've lived your entire life as a normie and everyone thinks the same, it feels like you're being attacked when someone doesn't.

Hold on. No, no, no, no. This is not, do not despair to normies. Wait, you didn't get what I just said. You don't get it. You don't understand what it's together. No, no, no, no. No, this is less to do with the normies than it has to do with being a young pretentious

person because when you're young, what you like and love, that is everything in your life. And like, I had this experience when I was young and in high school, I'd show someone my favorite movie and they'd be like, I didn't get it. I'd be like you're a fucking bad person, you know, and like, you're attacking me. But now I'm just like, you didn't get it. Okay, I literally have so many other problems. My life is a mess. Like, I have a bigger issues to deal with. You know? Just say, I have a child. I have a child. I have diapers to clean. Like, seriously. So it's,

it's just a matter of perspective. Like, I genuinely think a lot of these issues. And I think also, and I put this into perspective myself, if I'm like, seeing a really stupid take on Twitter or on letterbox reviews. People like to get on my letterbox reviews and argue with me and I do not engage with them ever because I'm like 90% of the time, this is probably a 14 year old. They have the time to reply to a letterbox review and want to argue. And it's like you don't know who online is 12 years old. And you just got to like let it go then. You know, it's not that big of a deal. Yeah. I've been slowly learning that over time. Sometimes I slip up. But, you know. It's hard. It's hard. It's hard.

Yeah, yeah. I've just, yeah, my instinct is to try and be understood. And then I've had to learn over time that by this point, the people that don't understand me aren't trying to. They're 12 years old. You just got to let it be. Or are 12 years old. So yeah, I guess to answer the question, yeah, it like, it can be an acceptable thing to say. I personally would, like, not just leave it at that. And I am annoyed at people that use that in place of saying, you didn't like it. it and I wish you would like it and don't have anything else to offer. Yeah, I, I usually don't

try to analyze someone else's experience like that with some exceptions. If I do make any of that commentary, it's usually about like large groups of people where I'm like, how many, you know, like a statement, like, how many people do you think, uh, saw him and thought Jordan Peel directed it or something, you know? Right. But yeah, try not to for individuals, because that individual can, to answer your questions if you are curious about how their brain works I don't know it's just so reductive um like

just slant to take it when talking about art at a certain point you know when it is just when you're bringing up valid counterpoints and stuff like that all this kind of debatey type of language I don't know oh yeah there are more important things at the base level like experience of you enjoying the art form

or whatever however you want to express it it just gets yeah as everything does online in particular, just reduced to you didn't get sucker punch. You didn't like it because you didn't understand the deep Snyderisms. You didn't get Batman v. Superman, you didn't get it.

Yeah, exactly. My brain might not be big enough for Batman v. Superman Dawn of Justice. I mean, it's not even big enough to say the title. Mine certainly isn't, yeah. My P-brain can't. Yeah. Yeah. There's honestly not that many movies that

like the difference between fully understanding and not fully understanding it would change whether or not you like it also is like an important thing to recognize. I will say that there are a couple movies I sometimes use as like a litmus test with people for like how much I might vibe with their sense of humor or something like that. Yeah. Well, I do use like the Big Lebowski for that because some people I've shown it and they've been like, I just didn't get that. So I just know it. fundamental level. The humor thing's just not going to be sunk up in a certain way.

That's fine. It's fine. He didn't get it. So, yeah. To me, it's weird or shit? Mm-hmm. Like Kung Pow, Tim and Eric, Black Dynamite. I'm like, there is a kinship if you're into the weird stuff.

Yeah. Yeah, I don't know. I don't know. You don't get it. But I do know this one. Oh, yeah, I guess I don't get it. But I get this one from Nothing is Real here. He said, thoughts on the potential Warner Brothers Discovery Sale,

at any of you nervous for the future of films, since as of late, major media companies are being bought and swallowed up. It's wild, considering WB was literally bought by Discovery pretty recently. Personally, I'm afraid of things having towards a monopoly. Obviously, there are technical laws against that, and new studios will always pop up as time goes on. But at this point, I wouldn't put it out at the realm of possibility. for that to change, not to mention Trump wanting the specific WBD sale to happen. It stinks of

control. I've long thought that. The merger and acquisition thing is just so out of control, especially with these media companies. They all just own each other and the spider web of who who owns what is so absurd and just, yeah, monopolistic at some point. And just like moving these vast amounts of money and value around is so, so ridiculous. Oh, yeah. And all the stuff that gets thrown to the side. It's just so frustrating. It's all just a very complex but simple game that's being played.

And we kind of spawned like very, very late in the Monopoly board. Someone's already collected all the fucking cash. Yeah. Yeah, they're really boring bit. Oh, yeah. It's really strong out of Monopoly. No, yeah. There's no like safeguards or,

regulations really in the United States anymore. Like, sure, on paper, yeah. But if you can just, like, I don't know, say, Canada's contributing to a fentanyl crisis. Let's raise the tariffs and go through the improper. Like, I'm not legally supposed to be able to do this. It's supposed to go through Congress. So I created a fake emergency that is not provable. And you can just do that and nobody stops you? Then, yeah, there's no real rules or regulations or laws. He saw a fucking ad raised the tariffs by 10% is that an emergency excuse me did everybody forget nobody's holding him to account so nothing matters anymore and so yeah the warner brother is fucking what what company's buying them they're just for sale for anyone right now like um it's not bought yeah i think

paramount was trying to buy warner brothers correct yeah let's get disney to buy warner brothers but concast is also interested and i don't know it just seems fucked up it's kind of How it's funny how they're just selling right now. They just jump around. Is that David, like, just... Like, I didn't get my raise this year. Yeah, one big of y'all. You know what the fuck?

Personally, guys, I am... I'm actually pro-merger because I want Disney to own everything, all the IPs, so that we can have the best Avengers crossover event we can possibly have. Batman in the Avengers, that's good. I want the Sinners character. in the next Marvel film, I want it all connected. So personally, that's the only reason why. I mean, I don't really know how money works or the economy,

but I want Avengers doomsday with Batman and with the monkeys from Planet of the Apes. Yeah, no, it's bad. It's bad. And there's reasons why at one point there was an effort to like prevent this. sort of thing from happening. Because, you know, like, if the closer you get to a monopoly, the less competition you have, and the worst that is for consumers, and the more that things are exploitation, right? So pretty simple, pretty simple shit.

It's not that complicated. To many people, I guess it is. But have you considered, no, it isn't? And also, I like Marvel movies. Yeah. It's kind of funny because you see, like, I don't know, you hear, like, people who describe themselves as, like, N caps or something. They're like, no, yeah, if a company.

company like kills someone, then people will just buy from a different company. It's like, okay, well, if it's ANCAP, is there anything preventing monopolies or oligopolis, right? Or it's like three companies total in Canada are like our telecom, you know, big three. They all raise prices at the exact same time, very suspicious. No one's doing shit about them. Like they're clearly colluding. I mean, look at look at what just happened with them electronic arts. Oh, yeah.

They were just bought out by the Saudi Arabia public investment fund. Very interesting. $55 billion. Yeah, what do we do? Can't do anything. I don't know. I genuinely am. Viewers, please let us know what we can do.

Just watch the dairy show. Yeah, I can't enter politics. First of all, I'm Canadian. It doesn't even make sense. There are no politicians in Canada. Yeah, I mean, like, if I, if I, if I, if I, if I, if I, if I, if I, if I, if I, if I, got elected as prime minister of Canada, which would never happen. I still wouldn't have any control over like the fuck is happening in the U.S., which seems to be the bigger issue, right?

And seems to be like more detrimental on the state of my country's economy, really. I didn't get to vote on your shit. I feel like I should have been able to. I was watching a video yesterday talking about how the the Alberta separatist movement is actually just astroturfed and manufactured by oil companies in the United States, which actually makes a lot of sense. So you're doing a lot of good stuff.

You know, not to be to, you know, not to make this all a big joke or anything. I'm not trying to make this big joke because, but very sincerely, I'm thinking like this is such like a doomer thing you know like we're talking about how oh everything is shit and nothing can be fixed and like on the large levels yes like on the the macro levels that we pay attention to in politics and news every day like yeah the world is going to shit there's a lot that we do not have control over but for anyone listening like what keeps me feeling somewhat sane is

like there are tangible things you can do to like improve the people in your circles and in your community around you in tangible ways that are helpful and can make people's lives better. You don't have to look at the big picture every day and think, well, I can't do these. I can't change these things, so I can't do anything good or improve the lives of those around me at all. So it's like try to have some perspective about it, you know, because there are, you know, things you can do to make a community better. So that's-

Very inspirational. Thank you. Some opium for folks. Nice. Yeah, well, you can't do too much hopium. You'll wind up like Jared Lidow. Yeah, also fuck. Fuck everyone.

Fuck everyone. Yeah. That was a line from Synecdochia, New York. Is it? Yeah. They do say fuck everyone. Have you seen it? No.

Oh, sorry, I wasn't supposed to say that publicly. I've been pretending. I knew it. I knew it. I was just, I was, reading off the Wikipedia. Retending. That is a elaborate troll.

Yeah. I'm like, this movie's so dumb. I bet I could convince everybody that I saw it. That is the best. Yeah. Yeah. What do we?

Yeah. I don't know. Like, um, there are some companies where them having dominance over the market, I'm like, okay, whatever.

So like, steam. Because, you know, generally their business practices are pro-consumer. Right? But if Disney owns everything, I know I'm never getting a fucking Blu-ray again of the movies that I like. You know, that happened when they bought Fox.

I'm like, this is why I don't have a 4K of poor things. They're just not interested in physical media to the degree that I, you know, would want. They're probably not going to green light smaller artists and projects, you know, like, it comes with a lot of issues if it's just like a shit company. David Zaslav has just fucking destroyed Warner Bros. It's just like their reputation. Yeah. I mean, Steam's like a nippy private company, right?

Like it's not publicly traded. True. That's probably why it's still good. Yeah, isn't all of it a big behemoths. Where you look at how many people work at Steam as a company. It's really slim. Yeah.

What's going on there? So, yeah, I guess they're just, they're so enormous. And they have these branches of branches of branches and thousands of people all over the world. And they're these big organisms. It's so.

Yeah. I have no answer. What you do about that? I'm a domer. Jake, can you fix your country, please? Can you vote next time? Yeah, I mean, I was going to vote for Mammondani today, but I live on the other side of the country. So I'm kind of, you know, I mean, I'll try to, I'll try to fake some votes or something, whatever.

I'm hearing that. Oh, shit. I'm hearing that Democrats are always doing that. So I'll find a way to stuff the ballot box. Oh, you're a Democrat. Well, you know, I have to vote some way. I thought you were ANCAP. I vote for the ANCAP party of America.

Yeah. Do you got another question? Yeah. Okay, yeah. Let's do a couple more here. Wind it down. Let's do this one from Illegal the Amigo. Do you guys ever break down into two sittings watching a movie?

And if you don't, do you think this is not the ideal way of watching movies? For me, because of my tight schedule now, I can't watch a movie in one sitting anymore, but I try to squeeze in space for the movie wrecks. I personally don't think it's an issue. Yeah. I get why a lot of people do prioritize, like, the experience of, like, you know, you need to, for the way a story's building, like a tone to sit in an atmosphere, and you're not getting it properly.

if you don't do that in one setting and it's true in some respects but I don't know I feel like the way you're absorbing or engaging with the stories first and foremost the most important thing. I don't really think the medium at a certain level is that crucial

to that at the end of the day. So I'm not upset by someone breaking up a story they care about or want to see to the end into parts to fit into their busy lives. I don't think that's an issue at all. Yeah, people can watch movies however they want.

My recommendation would be only break up movies where there's breaks breaks within the pacing of the film itself. So like films with chapters, right? Films with distinct chapters, that's a good way to do it. Or, you know, just any film that's not like one that just is on a constant state of its own momentum. So like, wreck would be a bad one to do. you know like a fucking

high energy zombie film where it's like the point of it is like that it's not slowing down that would be a worse one to split up but you know castration movie anthology one traps has three distinct chapters

and an intermission so it makes it pretty easy it makes the runtime less intimidating like how you're watching Satan tango in one in one seven hour 19 minute long bun yeah

Did I do it in two days? I split that into two. It was like two, three hour and a half chunks for me. But even then, that's mega. Yeah, yeah. What do you think, Jake? Yeah, I mean, I relate to this person asking this question because, I mean, on a practical level, I really genuinely cannot.

Like, I don't know the last time I watched a movie at home without interruptions. It's impossible. So I've just kind of accepted, like, you can't really, it's really hard to like, manufacture a perfect like theater going experience at home in any way like there's always interruptions and you just kind of got to let it let it go at a certain point like yeah it might mess with the flow you might have to but it's like you've got your whole life to watch it again if you want and you can watch you know it's like yeah I might fuck with it a little bit but at the end of the day like life is life and you can't pause life

I would just say go see movies and theaters as much as you can and um If you can just try to have a day for those special movies you really want to experience to just set aside some time where you know people can't interrupt you. But if you can't, yeah, yeah. It's life. I don't know. And if it does interrupt you, it's also a matter of, like, you know, how you deal with that and the type of headspace.

Because if you, if you, you know, build something up as this perfect, like, must not be interrupted and then it happens and then you're, like, pissed about it? Like, that's going to be a more negative impact on. your experience than if you it happens and you're like okay whatever right and you try it your best to like deal with it mentally better yeah true very true okay well let's wind this down then with this funny one from speaking of wb and that whole mess from dingus mode 45 thoughts on andy is it machete still defending the flash so it's really great and everyone on hating on it hasn't seen it yet so um you just didn't get it talking about this a weird amount yeah um

the playlist dot net had an interview with him on october 15th where he was quoted saying um yeah here we go asked how he processed the experience in relation to the flash and whether it shook his confidence he admitted to feeling disappointed but emphasize emphasize his resilience no we just moved on and understood that sometimes there's a headwind and a project that you dedicate a lot of work to, he said, and we're very proud of it I think it's a good movie. He continued acknowledging the reality of the film's

poor box office performance. A lot of people did not see it. But you know how things are these days. People don't see things, but they like to talk shit about it, and they like to jump on bandwagons. They don't really know. People are angry for reasons they are unrelated to that are unrelated to these things.

Yeah, so you can check out that. that was funny how the flash is still somehow being talked about yeah i forgot about it i made a video i guess he's probably doing the rounds because uh he's been working on this it's welcome to derry show yeah welcome to dairy um so i guess yeah when when the when the when the when the when dc megabucks didn't work out it was back back to it get back to Sure, why not? Yeah, I mean, like, he did well the first one. Yeah, I remember liking mama.

I mean, what do you expect a man to say? I mean, like, he took a beating over the flash. Yeah, told me to shreds and I'm never going to forget the experience. Yeah, what do you want him to say in the interview? He also probably signed a contract that says he can't say bad things about his movies. And he wants to keep working and, you know, like how much control did he really have over what came out of that disaster? like he probably signed something to be like, hey, you're going to take the brunt of the blame here. Yeah, but we owe you, you know, we won't wreck your career or something.

But it's like, also you made money. Yeah, I mean, the internet culture and everything is like very black and white. Oh, he directed the flash. He's a, you know, a terrible person or whatever. Like, I don't know. I mean, we don't know how much his contributions ruined the flash. I mean, I have no idea. But what do you expect the guy to say?

Oh, yeah, I fucked up. That was actually a horrible movie. It was all my fault. I'm going to backstab all the people who, you know, paid me a bunch of money to go. I mean, he's working for these people. Like, I don't know. This movie would have turned out fine if it weren't for the woke mob. The woke mind virus.

I just think about the guy who made, the guy who made Fantas, or who made Fan Forstick. And it's like, yeah, he, he burned. burned all his bridges. How did that work out for him? Yeah, you could use Josh Trank as like a verb because of that. Yeah, he tranked it. Yeah. Or even David Eyre, a bit like not as extreme as Trank, but he's been pretty vocal. Who?

About like, the director of, um, suicide squad. Oh. Um, and he wants the, the, after the Snyder cut, he wanted his air cut to come out. That's funny. Was critical of, yeah. It's a funny thing. The A are cut, 5% better. Yeah.

Yeah, it didn't really catch on in the same way. I don't think he's got the fan base of a Snyder. Nobody does, really, somehow. I kind of want to see the beekeeper. It looks stupid. Yeah. Fucking David Ayer. It does.

Yeah. So I think that's it. All right. Thank you. Good questions. I think we did it. Good job. Who's a wreck?

Is it yours, Jake? I think it's Jake. makes right. All right. I'm going to say this with love to both of you. Perfect. And I don't mean to be mean. Yes. Thor, love and thunder. What? Respectfully. Yeah, okay. Well, I mean, like, this is fine, but I'm not watching any of the ones before that. That's fine. You don't need to. I'm not going to watch any of the other Thor movies to understand what the hell's going on. You have to watch every Marvel movie. That's implicit in my recommendation.

And every Tyco Wattea movie. Okay, sure. Yeah. I'm not going to justify or explain myself. I'm not going to say this is a hate wreck or spite wreck or anything. I'm just going to drop this bomb. Perfect. Oh, it is a bomb. I recognize that. With love, respectfully to both of you. I love you both. But also, you've got to deal with this. I'm so sorry.

Yeah, well. You win some, you lose some. Yeah. You watch Requiem for a dream. You got to watch Thor 11 Thunder. Some to two hours at least. Yeah. It's been three years.

Fuck. Three years. It has been three years. God damn it. Three long years. Fuck. All right. Thor 11 Thunder.

If you don't want to see this before the next episode, watch, um, before, uh, sorry, watch the movie before we talk about it. Directed by Taika Wattiti. These episodes come out every two weeks. You can listen to them early by going to sardonicast.com.

Sign up for premium. Or patreon.com slash sardonicast. Or click the thing on the YouTube video. It's only a few bucks a month. Yeah, have a... Fuck. Have a happy... Have a happy screaming good.

Love and thunder. Yay. All right. This is going to take up a lot of my... mental energy. You gotta say deep, thorough notes as well. There's a lot of law. I don't know.

This has got to be like Star Wars, you know. I don't know if I'll take notes. Really getting there. Damn it. All right, cool. Fun. Fuck. Thanks everybody.

Have a happy day, everyone. Bye-bye. Happy day now. Thanks. Bye, everyone. Bye.